by Glenn Dunks

Staged realities are at the heart of Robert Greene’s films. Whether it be the wrestlers of Fake It So Real, the performative comeback of Actress or the uncanny fiction of Kate Plays Christine, his films have always blurred lines between what is real and what is… less real. Maybe.

Bisbee ’17, opening tomorrow in NYC, marks multi-hyphenate Greene’s most accessible feature to date, perhaps not coincidentally because the divide between the two realities he builds are at their most clearly defined. But even if the structure allows an audience more familiar comfort, it’s still a haven for the sort of hazy distortion that Greene does so well and which can make viewers feel off-balance, unsure about whether what they’re watching is completely real or some version of it.

The setting for Bisbee ’17 is the town of Bisbee, Arizona. A town in the shadow of the copper mining boom in the early stretches of last century; once one of the most prosperous towns in America, it now stands as a remnant of a long-since gone American ideal. It's a minor tourist destination, and the keeper of a tragic secret past that is about to get to get torn open like a scab from a 100 year-old wound that never healed...